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An Architect in a Metaverse

In this interview, we talked to the participants of the festival of creative industries G8 about why metaverses are our tomorrow’s everyday routine, and how architects can already influence it today.

06 September 2022
Interview
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Metaverses are the central subject matter of the “Architecture” section at the G8 festival of creative industries that took place in the “Supermetal” space on the 9th of September. The curator of the section was Sergey Nadtochiy, the art director and the branch manager for AR and VR projects in the Atrium studio. In his opinion, the world is on the verge of transformation of the Internet, which in turn will cause a transformation of architecture. And just as graphic designers created a two-dimensional Internet as we know it, so architects will create a three-dimensional Internet that we will all use tomorrow. At the conference, the pioneers of this direction in Russia – Ivan Puzyrev and Alina Chereyskaya – talked about the architecture of the metaverses.

The agenda of the event is available here. We asked the architects to share about metaverses and about what’s going on with them right now.

Sergey Nadtochiy, Head of the ATRIUM Digital and ATRIUM Education

Art Director of Atrium studio, founder of the Dearch.space platform dedicated to NFT architecture and design. In the company, Sergey heads the ATRIUM Digital and ATRIUM Education departments, which develop projects for AR/VR spaces and the metaverse, and a methodology for designing modern educational spaces.

Co-founder of Arhead Metaverse, an expert in augmented and virtual reality technologies with more than 10 years of experience in the field of digital strategy focused on spatial computing and the use of augmented reality on a city scale. His portfolio of projects includes “Dubai Culture”, “Hermitage”, and “Venice Biennale”.

Alina Chereiskaya

Architect and partner of Samlab, winner of the Europe 40under40 award, tutor of DigitalFUTURES. Editor of the telegram channel @salab_daily on the practical application of robots, AI, VR, AR and other technologies in architecture, as well as the host of a podcast about architecture in the digital age, “The House that Code Built”


What is a metaverse, and why is it inevitable

Alina:
The term first appeared in a novel by Neal Stephenson “Snow Crash” back in 1992 – it described some synthetic virtual space, in which you could be whatever you wanted, and do whatever you wanted. It’s been 30 years now, and everybody started talking about metaverses because technologies came around that can make this thing a reality.

Currently, we are in a transition period from Web 2.0 to Web 3.0. While Web 1.0 was essentially about static websites where the user could only consume content, in Web 2.0 you can create content and share it online. In Web 3.0, you will be able to securely own the content. The two major issues with Web 2.0 are the vulnerability of your personal data and the content copyright. By using the blockchain technologies and NFT, Web 3.0 will be able to solve these issues, and, in addition, it will ensure immersive experience through AR and VR, and will provide a horizontal system, in which the communities will make their own rules. In this crisis of the Internet and its gradual transformation, new spaces appear, and metaverses become a part of Web 3.0.

The pandemic also played a part – this self-isolation proved that we can work, study, and even hang out remotely. AR and VR are widely available; computers and software make it possible to create virtual worlds.

Today, an individual lives in a hybrid space where the digital world is represented by social media and online services, while the physical world is represented by their favorite cafe, the city square, and their home. According to forecasts, by 2026, 25% of people will spend at least an hour a day in a metaverse, and the number of active users has been growing dramatically in recent months. It must be noted that the metaverse must become a single seamless space – in 2022, we are only witnessing the forming of prototypes.



Ivan:
Metaverses are like some three-dimensional Internet, or the next dimension for your content. Everything that we see around us is volumetric but for some reason the digital interfaces remained flat for a long time. This is why the exodus of information to the volumetric space can be perceived as an inevitable process: the information no longer fits in the small flat screens, it needs more room. This is a continuation of gradual movement from books, audio recordings, radio, and mobile platforms to the global phenomenon that will connect people and information.

According to preliminary forecasts, by 2026, about a quarter of the world’s population will spend about an hour in a metaverse in this or that form. If we consider virtual worlds to be any joint experience inside a three-dimensional world, then such phenomena as Minecraft, Roblox, or Fortnite are already drawing millions of unique users a month. More modern metaverses, which are more decentralized and are driven by some form of blockchain, do not attract as many people so far, but this will change. In metaverses, people will receive values that in no way will be at odds with the values of the physical world – rather, they will only complement it.

What can an architect do for a metaverse?

Sergey:
Creating architecture for metaverses is something that all users can do, but the freedom of self expression in a metaverse presents its own specific challenges. Historically, cities developed spontaneously, but now we are well aware of the issues created by outlaw construction and bad town planning. Thus, we have a task to develop interaction and control systems meant to make sure that the new quality of the Internet does not lead to chaos. Currently, software developers are trying to solve these problems themselves, sometimes attaching the users but this is clearly not enough. It is necessary to carry the architectural expertise over to the metaverse.

In the modern world, the progress is driven by the technology companies, but they have their own standards of success: how many purchases, how many clicks, how much time on the page, and so on. Pursuing their own interests, they may create an environment that is not based on universally accepted human values. A vivid example: the automobile lobby of the mid-20th century was so powerful, and the architects were so unaware of the scale of the transformation of cities under the influence of technological progress, that we are still raking out the mistakes of that time. Architects should take responsibility for what is already happening in the metaverse, and try to create an architecturally correct environment there.

Liberland Metaverse
Copyright: © Zaha Hadid Architects


Alina:
Today’s prototypes of metaverses often look like cities: the same public spaces, the same territories that can be developed, the same buildings, parks, and streets. Today this is all voxel geometry and low-polygon aesthetics – and the architects are used to a different concept. At the same time, cyberspace does not hinder us by any physical limitations, construction regulations, or budget constraints. What matters in the digital world is how you work with geometry, how you optimize it, and what narrative you are offering to the end user. And the architects are still yet to come up with the language for that digital world. There will be author spaces that will cooperate with architects, and there will be spontaneous spaces too.

Ivan: 
You need three components for a metaverse to exist. The first one is the world, the context, the 3D space. The second is the avatar. And the third is the content that can be placed within the space, and with which the avatar will interact. All these components will be modernized and augmented; subcategories will appear, but the content will forever remain the most meaningful and significant component. Just the same as the architect in the physical world, the architect in a metaverse will be able to influence the feelings of a whole group of people inside such a space. Today, this is something that is already done by game designers. The stage of mimicry to the physical world must soon pass or settle for occupying a small part in the architecture of metaverses because the challenge lies in new materials, new tools, and the absence of most of the constraints inherent to the physical world.

What are the necessary competencies for an architect of metaverses?

Alina: 
I would describe the main competence as creative coding – a skill that combines coding and creative skills. We are witnessing rapid development of AI that is already changing the fundamentals and tools for creating architecture. Neural networks can generate images and videos, they can alter geometry, and we are one step away from the point when they will be able to generate 3D objects by mere description. It is important to understand the principles of writing a code and be at the junction of different disciplines.

Ivan:
One of the key skills in the architect’s profession is now game design and understanding how games are actually wired – it is not always a primitive set of crystals, and the audience can be very complex too. On the whole, contrastive combinations within professions generate a unique vision inside a metaverse, and it is doing it a lot of good. And make no mistake – metaverses are not just about games. When the Internet first came about, we all thought that it would come down to exchanging messages – nobody had a clue that by using this silicone box we would order food or taxis. A metaverse behaves in exactly the same way; a lot of functions will come around, as well as UX and UI design.

The influence of cyberspace architecture on the physical one

Sergey:
In a metaverse, the traditional construction logic no longer applies, and sometimes you can even change the laws of physics, granting your avatars an opportunity to jump 30 feet high or walk on the ceiling. Such conditions for creative activity will create a new quality of architecture, which, I am absolutely sure, will sooner or later bleed from virtual architecture into physical one. I will remind those who think that you can only become a real architect if you build and work with real-life material that many great architects developed their own unique style specifically on virtual projects – Fun Palace by Cedric Price or the utopian projects by Boullée and Ledoux, to name but two. Over the last 20 years, the architectural discourse has been in a state of crisis because there are no significant and groundbreaking trends. A metaverse is all about a new approach and new opinion makers. Very soon they will create a new visual language, come up with new properties of spaces, and will change architectural styles.

Liberland Metaverse
Copyright: © Zaha Hadid Architects


Ivan: 
A metaverse can also be regarded as a digital layer that is superimposed over the city and can be read from a smartphone, for example. This is why the buildings must possess a set of elements that will match not just human vision but the AR’s as well: even today we have unmanned vehicles, drones, and robots that do delivery and other services. In the more distant future, I think, the bravery and craziness of the architects in a metaverse will introduce new visual habits in people, which will affect the architecture of the physical world.

Alina:
Today, a metaverse may serve as a platform for testing ideas that can later on be applied in a physical world. Zaha Hadid Architects, for example, is developing for Liberland the master plan and the public spaces for presentations.

The digital world must become an experimental space for reinventing things that we are building in a physical world considering the global environmental impact of the construction industry. Furthermore, metaverses are more inclusive thanks to their being more accessible and thanks to their wide range of features.



What have you done for a metaverse?

Alina:
In the SA lab, we turned to digital architecture in 2020, where we were doing projects for the GEEK PICNIC festival. When the event switched from offline to online, we came up with virtual pavilions. The project explored the opportunities for architecture unhindered by the habitual time and budget constraints; within one day, the pavilions were visited by 10,000 users, and this still can be done by any computer user.



A few months later we, together with ARCHSLON and SYNTHESIS MOSCOW, we conducted Russia’s first online architectural festival 360FEST, in which students themselves created virtual spaces for museums.



In 2022, within the framework of the DigitalFUTURES program, on the basis of the Tongji university, we taught students from nine countries how to create virtual spaces and landscapes at the Wormhole Gallery workshop. Virtual galleries often look like physical ones – essentially, these are white boxes filled with content. In this project, however, we completely revise the gallery typology, meditating on the material and tactile in digital, and we also cross physics, game design, architecture, and coding. What we ultimately got was a meditation space, in which you can be alone or travel between the works by architects. The final projects were placed in three metaverses – Voxels (Cryptovoxels), Decentraland, and TopoPixel.



The G8 Festival will feature releases of the new projects that hitherto were not published anywhere.

Also, we want to consolidate our educational experience in a single environment, working on the KODIIA project – a platform with interactive educational tools for creative coders. KODIIA is aimed at forming a synthesis of technical and creative skills, and is focused on coding as a creative tool for creating games, virtual spaces, and graphic design experiments. Currently, one can leave an application for early access to a beta version.

Ivan:
We did the first virtual exhibition of digi art in the Hermitage, and, surprisingly, the curators gave us a Carte Blanche. We took the building of the Stock exchange, scanned it, and fully recreated it. The digital artist Oleg Soroko used a whole set of algorithms that allowed to transform the bottom part of the space beyond recognition and added to it an unbelievable number of lines and shapes, seemingly out of the human hand’s control. Oleg did not really mold them – he programmed an algorithm that yielded this shape. The top part, however, remained the exact replica of the Stock Exchange building. What it ended up being was some sort of a transaction between something historical and something absolutely new.

Within the framework of the Future Cities festival, we created a virtual world, in which works were presented by artists that work in the physical world in different cities. We carefully transferred the installations and cityscapes into the metaverse, and it resulted in a trip that you can make without leaving the comfort of your home.

Yet another client of ours is the Hutton developer company. At the international convention of modern art Cosmoscow it will showcase its own project – any spectator of the presentation will be able to go to the Moon.

On the basis of our arhead.io platform, Sergey Nadtochiy and his team created a space for the DEIP company – he sent us traveling inside a computer board as a chunk of energy. For me, this was like a reminder about the material: for example, when we speak about “cloud storage”, imagining something nebulous, this is in fact just a metaphor because actually all the data is stored on servers that belong in the physical world. Making a run of the computer board and hearing about blockchain, we again remember that everything digital is still material in its essence, just as everything non-organic is in fact organic because it has risen from the soil. This is something that you cannot experience in a physical world.

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    DEIP metaverse city – ATRIUM architecture, Arhead platform
    Copyright: © ATRIUM
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    DEIP metaverse city – ATRIUM architecture, Arhead platform
    Copyright: © ATRIUM
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    DEIP metaverse city – ATRIUM architecture, Arhead platform
    Copyright: © ATRIUM
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    DEIP metaverse city – ATRIUM architecture, Arhead platform
    Copyright: © ATRIUM


Sergey:
My first project, dedicated to architecture in a metaverse, was my diploma project in AA School. Under the leadership of the founders of the Space Popular studio, we, together with other students, spent a whole year researching cyberspace and designing it. We did not copy from available tools and platforms, but created our own projects that can only be implemented in 5 or 10 years’ time.


The first project in ATRIUM on the Arhead platform, together with the Balagan creative agency, we developed for a blockchain company event, creating a whole virtual city. And on the 7th of September, the Somnium Fashion Week started – one of the most significant events in the world of digital fashion, for which we designed the main space for the fashion show as such and a showroom of one of the brands.

Somnium Fashion Week space, visualization
Copyright: © ATRIUM


In addition, together with the Dearch Space platform we helped other creators to come up with six more fashion spaces. Together with my partners, who also have some architectural background, we created this platform in order to help architects and designers master cyberspace, and we also wanted to help the companies that want to showcase their product and interact with the metaverse users do this in a high-quality environment.

Currently, we are actively exploring the market, building partnerships with platforms and distributors, organizing their joint work, preparing new events, publications and educational content. We believe that it is the architects who will create the metaverse, and we invite everyone to join this fascinating process!

06 September 2022

Headlines now
A Roadside Picnic of Urban Planning Theorists
Marina Egorova, head of Empate Architectural Bureau, brought together urban planning theorists – the successors of Alexey Gutnov and Vyacheslav Glazychev – to revive the substance and depth of professional discourse. At the first meeting, much ground was covered: the participants revisited the theoretical foundations, aligned their values, examined a cutting-edge case of the Kazan agglomeration, and concluded with the unfathomable intricacies of Russian land demarcation. Below, we present key takeaways from all the presentations.
Perspective View
CNTR Architects has designed a business center for a new district in Yekaterinburg, aiming to reduce the need for commuting and make the residential environment more diverse. The architectural solutions are equally focused on creating spatial flexibility, comfortable working conditions, and a memorable image that could allow the building to become a spatial landmark of the district.
Malevich and Bathhouses, Nature and High-Tech
The Malevich Bathhouse complex is scheduled to open in the fall of 2025 on the Rublyovo-Uspenskoye Highway. The project, designed by DBA-GROUP under the leadership of Vladislav Andreev, is an example of an unconventional approach to the image of a spa in general and of a bathhouse in particular. Deliberately avoiding any kind of allusion, the architects opted for streamlined forms with characteristic rounded corners, a combination of wood with bent glass, and restrained contemporary shapes – both inside and out. Let’s take a closer look at the project.
Rather, a Tablecloth and a Glass!
After many years, the long-abandoned Horse Guards Department building in St. Petersburg has finally received the attention it deserves: according to a design by Studio 44, the first restoration and adaptation works are scheduled to begin this year. Both the intended function and the general scope of works imply minimal alteration to the complex, which has preserved traces of its three-century history. All solutions are reversible and aimed, above all, at opening the monument to the city and immersing it in a lively social scene – hence the choice of a cultural center scenario with a strong gastronomic component.
​Materialization of Airflows
The Nikolai Kamov International Airport in Tomsk opened at the end of August last year. We have already written about the project – now we are taking a look at the completed building. Its functionality is reinforced by symbolic undertones: the architects at ASADOV sought to reflect local identity in the architecture as fully as possible.
The City as a Narrative
Sergey Skuratov’s approach to large urban plots could best be described as a “total design code”. The architect pays equal attention to the overall composition and the smallest of details, striving to ensure that every aspect is thoroughly thought out and subordinated to the original vision. It’s a Renaissance-like approach, really – a titanic effort demanding remarkable willpower and perseverance. The results are likewise grand – architecture that makes a statement. This article looks at the revived concept for the central section of the Seventh Heaven residential district in Kazan, a composition so thoroughly considered that even the “gradient of visual emphasis” (sic!) across the facades has been carefully worked out. It also touches on the narrative idea behind the project – and even the architect’s own doubts about it.
A Laconic Image of Time
The Time Square residential complex, built on the northern edge of St. Petersburg, appears more concise and efficient than its neighbor and predecessor, the New Time complex. Nevertheless, the architect’s hand is clearly felt: themes of “black and white”, “inside and outside”, and most notably, the “lamellar” quality of the facades that seems to visibly “eat away” at the buildings’ mass – everything is played out like a well-written score. One is reminded of both classical modernism and the so-called “post-constructivism”.
The Flower of the Lake
The prototype for the building of the Kamal Theater in Kazan is an ice flower: a rare and fragile natural phenomenon of Lake Kaban “froze” in the large, soaring outlines of the glass screens enclosing the main volume, shaping its silhouette and shielding the stained-glass windows from the sun. The project, led by the Wowhaus consortium and including global architecture “star” Kengo Kuma, won the 2021/2022 competition and was realized close to the original concept in a short – very short – period of time. The theater opened in early 2025. It was Kengo Kuma who proposed the image of an ice flower and the contraposition of cold on the outside and warmth on the inside. Between 2022 and 2024, Wowhaus did everything possible to bring this vision to life, practically living on-site. Now we are taking a closer look at this landmark building and its captivating story.
Peaceful Integration on Mira Avenue
The MIRA residential complex (the word mir means “peace” in Russian), perched above the steep banks of the Yauza River and Mira Avenue, lives up to its name not only technically, but also visually and conceptually. Sleek, high-rise, and glass-clad, it responds both to Zholtovsky’s classicism and to the modernism of the nearby “House on Stilts”. Drawing on features from its neighbors, it reconciles them within a shared architectural language rooted in contemporary façade design. Let’s take a closer look at how this is done.
An Interior for a New Format of Education
The design of the new building for Tyumen State University (TyumSU) was initially developed before the pandemic but later revised to meet new educational requirements. The university has adopted a “2+2+2” system, which eliminates traditional divisions into groups and academic streams in favor of individualized study programs. These changes were implemented swiftly – right at the start of construction. Now that the building is complete, we are taking a closer look.
Penthouses and Kokoshniks
A new residential complex designed by ASADOV Architects for the Krasnaya Roza business district responds to its proximity to 17th-century landmarks – the chambers of the Hamovny Dvor and St. Nicholas Church – as well as to the need to preserve valuable façades of a historic rental house built in the Russian Revival style. The architects proposed a set of buildings of varying heights, whose façades reference ecclesiastical architecture. But we were also able to detect other associations.
Centipede Town
The new school campus designed by ATRIUM Architects, located on the shores of a protected lake in the Imeretian Lowland Ornithological Reserve, represents an important and ambitious undertaking for the team: this is not just a school, but a Presidential Lyceum for the comprehensive development of gifted children – 2,500 students from age 3 through high school. At the same time, it is also envisioned as a new civic hub for the entire Sirius territory. In this article, we unpack the structure and architecture of this “lyceum town”.
Warm Black and White
The second phase of “Quarter 31”, designed by KPLN and built in the Moscow suburb town of Pushkino, reveals a multifaceted character. At first glance, the complex appears to be defined by geometry and a monochrome palette. But a closer look reveals a number of “irregular” details: a gradient of glazing and flared window frames, a hierarchy of façades, volumetric brickwork, and even architectural references to natural phenomena. We explore all the rules – and exceptions – that we were able to discover here.
​Skylights and Staircase
Photos from March show the nearly completed headquarters of FSK Group on Shenogina Street. The building’s exterior is calm and minimalist; the interior is engaging and multi-layered. The conical skylights of the executive office, cast in raw concrete, and the sweeping spiral staircase leading to it, are particularly striking. In fact, there’s more than one spiral staircase here, and the first two floors effectively form a small shopping center. More below.
The Whale of Future Identity
Or is it a veil? Or a snow-covered plain? Vera Butko, Anton Nadtochy, and the architects of ATRIUM faced a complex and momentous task: to propose a design for the “Russia” National Center. It had to be contemporary, yet firmly rooted in cultural codes. Unique, and yet subtly reminiscent of many things at once. It must be said – the task found the right authors. Let’s explore in detail the image they envisioned.
Greater Altai: A Systemic Development Plan
The master plan for tourism development in Greater Altai encompasses three regions: Kuzbass, the Altai Republic, and Altai Krai. It is one of twelve projects developed as part of the large-scale state program bearing the simple name of “Tourism Development”. The project’s slogan reads: “Greater Altai – a place of strength, health, and spirit in the very heart of Siberia”. What are the proposed growth points, and how will the plan help increase the flow of both domestic and international tourists? Read on to find out.
The Colorful City
While working on a large-scale project in Moscow’s Kuntsevo district – one that has yet to be given a name – Kleinewelt Architekten proposed not only a diverse array of tower silhouettes in “Empire-style” hues and a thoughtful mix of building heights, creating a six-story “neo-urbanist” city with a block-based layout at ground level, but also rooted their design in historical and contextual reasoning. The project includes the reconstruction of several Stalin-era residential buildings that remain from the postwar town of Kuntsevo, as well as the reconstruction of a 1953 railway station that was demolished in 2017.
In Orbit of Moscow City
The Orbital business center is both simple and complex. Simple in its minimalist form and optimal office layout solution: a central core, a light-filled façade, plenty of glass; and from the unusual side – a technical floor cleverly placed at the building’s side ends. Complex – well, if only because it resembles a celestial body hovering on metallic legs near Magistralnaya Street. Why this specific shape, what it consists of, and what makes this “boutique” office building (purchased immediately after its completion) so unique – all of this and more is covered in our story.
The Altai Ornament
The architectural company Empate has developed the concept for an eco-settlement located on a remote site in Altai. The master plan, which resembles a traditional ornament or even a utopian city, forms a clear system of public and private spaces. The architects also designed six types of houses for the settlement, drawing inspiration from the region’s culture, folklore, and vernacular building practices.
Pro Forma
Photos have emerged of the newly completed whisky distillery in Chernyakhovsk, designed by TOTEMENT / PAPER – a continuation of their earlier work on the nearby Cognac Museum. From what is, in essence, a merely technical and utilitarian volume and space, the architects have created a fully-fledged theatre of impressions. Let’s take a closer look. We highly recommend a visit to what may look like a factory, but is in fact an experiment in theatricalizing the process of strong spirit production – and not only that, but also of “pure art”, capable of evolving anywhere.
The Arch and the Triangle
The new Stone Mnevniki business center by Kleinewelt Architekten – designed for the same client as their projects in Khodynka – bears certain similarities to those earlier developments, but not entirely. In Mnevniki, there are more angular elements, and the architects themselves describe the project as being built on contrast. Indeed, while the first phase contains subtle references to classical architecture – light touches like arches, both upright and inverted, evoking the spirit of the 1980s – the second phase draws more distantly on the modernism of the 1970s. What unites them is a boldly expressive public space design, a kaleidoscope of rays and triangles.
Health Factory
While working on a wellness and tourist complex on the banks of the Yenisei River, the architects at Vissarionov Studio set out to create healing spaces that would amplify the benefits of nature and medical treatments for both body and soul. The spatial solutions are designed to encourage interaction between the guests and the landscape, as well as each other.
The Blooming Mechanics of a Glass Forest
The Savvinskaya 27 apartment complex built by Level Group, currently nearing completion on an elongated riverfront site next to the Novodevichy Convent, boasts a form that’s daring even by modern Moscow standards. Visually, it resembles the collaborative creation of a glassblower and a sculptor: a kind of glass-and-concrete jungle, rhythmically structured yet growing energetically and vividly. Bringing such an idea to life was by no means an easy task. In this article, we discuss the concept by ODA and the methods used by APEX architects to implement it, along with a look at the building’s main units and detailing.
Grace and Unity
Villa “Grace”, designed by Roman Leonidov’s studio and built in the Moscow suburbs, strikes a balance between elegant minimalism and the expansive gestures of the Russian soul. The main house is conceived as a sequence of four self-contained volumes – each could exist independently, yet it chooses to be part of a whole. Unity is achieved through color and a system of shared spaces, while the rich plasticity of the forms – refined throughout the construction process – compensates for the near-total absence of decorative elements.
Daring Brilliance
In this article, we are exploring “New Vision”, the first school built in the past 25 years in Moscow’s Khamovniki. The building has three main features: it is designed in accordance with the universal principles of modern education, fostering learning through interaction and more; second, the façades combine structural molded glass and metallic glazed ceramics – expensive and technologically advanced materials. Third, this is the school of Garden Quarters, the latest addition to Moscow’s iconic Khamovniki district. Both a costly and, in its way, audacious acquisition, it carries a youthful boldness in its statement. Let’s explore how the school is designed and where the contrasts lie.
A Twist of the Core
A clever and concise sculptural solution – rotating each floor by N degrees – has created an ensemble of “dancing” towers: similar yet different, simple yet complex. The designers meticulously refined a single structural node and spent considerable effort on the column construction – after that, “everything else was easy”. The architects also rotated the core walls on each floor to maximize the efficiency of the office spaces.
The Sculpting of Spring Forest Matter
We’ve been observing this building for a couple of years now: seemingly simple, perhaps even unassuming, it fits in remarkably well with the micro-district context shaped by the Moscow MCD road junctions. This building sticks in the memory of everyone who drives along the highway, even occasionally. In our opinion, Sergey Nikeshkin, by blending popular architectural techniques and approaches of the 2010s, managed to turn a seemingly simple structure into a statement “on the theme of a house as such”. Let’s figure out how this happened.
Water and Wind Whet the Stone
The Arisha Terraces residential complex, designed by Asadov Architects, will be built in a district of Dubai dedicated to film and television production. To create shaded spaces and an intriguing silhouette, the architects opted for a funnel-shaped composition and nature-inspired forms of erosion and weathering. The roofs, podium, and underground spaces extend leisure opportunities within the boundaries of a man-made “oasis”.
Elevation 5642
The Genplan Institute of Moscow has developed a comprehensive development project for three ski resorts in the Caucasus, which have been designated as special economic zones of the tourism and recreation type. The first of these zones is Elbrus. The project includes the construction of new ski runs, cable cars, and hotels, as well as the modernization of stations and improvements to the Azau tourist meadow. To expand the audience and enhance year-round appeal, a network of eco-trails is also being developed. In this article, we provide a detailed breakdown of each stage.